Newsletter - Issue 12

THE PAUL MELLON CENTRE FOR STUDIES IN BRITISH ART 1~1

~ ~ NEWSLETTER Yale University

ART AN D THE BRITISH EMPIRE c.1600-2000 5-7th July 2001 at Tate Britain, London

Organised by Dr Tim Barringer (Yale University) and Dr

Geoff Quilley (University of Leicester), th is three-day con­

ference proposes that the concept of "Empire" belongs at

the centre, rather than in the margins, of the history of

British art. The history of imperialism in British culture

has come under increasing scru tiny in recent years. In the

wake of new scholarship in history, anthropology, litera­

ture and post-colonial studies, what is demanded now is a

cultu ral history of empire, in which the h istory of art must

play a central role.

Agostino Brunias Linen Market, Dominica (c.1780)

Leading historian of Britain and Britishness, Professor

Linda Colley of the London School of Economics will give

a keynote address on Britain, Smallness and Otherness: A Visual and Imperial Odyssey; as will distinguished art his­

torian and theorist, Professor W.J.T. Mitchell of the

University of Ch icago on Empire and Objecthood. A fur ther

p lenary session will bring together a panel of British artists

whose work refers to colonial and post-colonial issues. The

majority o f papers in the conference, selected from a large

number of proposals submitted from all over the world,

will comprise d etailed case studies of works both in publ i­

cations and museum d isplays, which despite their high aes­

thetic quality and historical value are currently excluded

from the history of British art.

Panels will include speakers from Australia, Canada, Great

Britain and Ireland, India, New Zealand, Pakistan, South

Africa, South America and the United Sta tes. Papers will

explore a wide range of visual culture and will be o rganised

into sessions on Consuming the Empire; The Natural

History of Empire; Empire and Britishness; Slavery and the

Caribbean; Collecting India; London as Imperial City;

Landscape and Empire in Australia; Empire and the Body;

Inventing the Raj; Australia and Colonial Art; Assimilation;

Oriental ism; Women and the Empire; Landscapes of Travel

and Settlement; Popular Cultures of Empire; Imperial

Masculinit ies; Art and Ideology in South Africa; and

Modern ity and the End of Empire. The conference aims

to provide a focus for current research on British ~rt

and imperialism by scholars in academia and museums

across the world.

Speakers i11c/11de: Jeffrey Auerbach (California State University at North ridge), Jordanna Bailkin (Columbia University), Tim Barringer (Yale Uni­versity), Leonard Bell (University of Auckland ), Kenneth Bendiner (University of Wisconsin-M il­waukee), Jonathan Black (UCL), Roger Blackley (Victoria University of Wellington), John Bone­hill (University of Leicester) , Julie Codell (Ari ­zona State University), Linda Colley (LSE), Joan Coutu (University of Waterloo), Urmilla De (St Cather ine's College, Oxford, Pascal Dupuy (Uni­versity of Roucn), Natasha Eaton (Un iversity of Warwick), Simon Faulkner (Manchester Metro­politan University), Douglas Fordham (Yale Uni­versity), Beth Fowkes Tobin (Universit y of Hawaii at Manoa), Mich ael Gaudio (Stanford Universi­ty), Pamela Gerrish Nunn (University of Canter­bury, Michael Godby (Universi ty of Cape Town),

Er ic F Gollannek (University of Delaware), Bar­bara Groseclose (Ohio State U niversity), Jeff Guy (University of Natal), Jos Hackforth-Jones (Rich­mond Un ivers ity), David Hansen (Tasmanian Museum and Art Gallery), Michael Hatt (Univer­sity of Nottingham), Eleanor Hughes (University of Califo rnia, Berkeley), Kr istina Huneault (Con­cordia University), Maya jasanoff (Yale Universi­t y), Sandra Klopper (University of Cape Town), Kurt M Koen igsberger (Case Wes tern Reserve University), Kay Dian Kriz (Brown Universi ty), Julie tte Leeb-du Toit (Natal University), Susan Lowish (Monash University), Rod Macneil (Uni­versity of California, Berkeley Art Museum ), Luciana Martins and Felix Dr iver (Royal Hol­loway), Ian McLean (Universi ty of Weste rn Aus­tralia), Amy Meyers (Huntington Library and Art Gallery), W J T Mitchell (University of Chicago),

Partha Mitter (University of Sussex) , Morna O'Neill (Yale Univers ity), Catherine M Paga ni (University of Alabama, Tuscaloosa), Sarah Par­sons (UCLA), Jordana Pomeroy (The National Museum of Women in the Ar ts, Washington), Geoff Quilley (Universit y of Leicester), Elizabeth Rankin (University of Auckland), Rom ita Ray (Georgia Museum of Art), Mary Roberts (Uni ­versity of Sydney), Joanna Sassoon (University of Western Australia), Pramila Sharma (Banasthali Vidyapith University), David Solkin (Courtauld Institute), Cather ine Speck (University of South Australia), Tapati Guha Thakurta (Centre fo r Studies in Social Sciences, India), Sarah Thomas (The Art Gallery of South Australia), Stephen Vella ( Yale University), Emily Weeks (Yale Uni­versity), Marcus Wood (University of Sussex), Kar iann Yokota ( Yale University)

Tickets are £75 (full-time students £30) and are available from the Tate Box Office (020 7887 8888).

ISSUE 12 JUNE 2001 PUBLISHED BY THE PAUL MELLON CENTRE 16 BEDFORD SQUARE, LONDON WClB 3JA

TEL 0 20 7580 0311 FAX 020 7636 6730

EMAIL [email protected]. UK WWW.PAUL-MELLON-CENTRE.AC.UK

THE INTERPRETATION OF GEORGIAN TOWNS Wednesday 18th July 2001 at the Paul Mellon Centre This one-day conference examines not just the conservation and

preservation of the historic built environ ment but also the key

question of interpretation. The manner in which a lo ng-estab­

lished ' her itage' area is interpreted deeply affects the way in

which historic identity and resonance, the sense of place and the

comprehension of personal space is perceived by resident and

tourist ali ke. Such issues have recently become the focus for

much academic study as well as research and action in the con ­

servation, plann ing and design worlds; this event accordingly

seeks to define and compare recent work on this subject by giv­

ing prominence to expert studies on medium-sized Georgian

communities on either side of the Atlantic.

Themes dealt with in the conference sessions will include the

translation of the ubiquitous term 'her itage', the objectives of the

interpreters, the establishmen t of cross-disciplinary partner­

ships, the treatment and application of modern contextual

design, and of the historic realities exploited, or indeed invented,

in the pursuit of the tourist dollar.

Bed ford Square (east side) London

Leading academics and conservatio nists from both Britain and

the United States will deal with case histories as varied as Lewes

and Williamsburg. Lectures include James Ayers (Bath Preserva­

tion Trust) on Bath; O rlando Ridout (Maryland Historic Trust)

on Annapolis; Julian Holder (Heriot-Watt University) on

Edinburgh; Carl Lounsbury (Colonial Williamsburg Founda­

tion ) on Williamsburg; Eddie Booth (The Conservation Studio)

on Lewes; Carter Hudgins (Mary Washington College) on

Charleston and Fredericksburg; and Timothy Mowl (University

ofBristol) on Cheltenham.

Tickets nre£30 (full-time students£15), including coffee, ten and nn early-evening drinks reception. To book, please contact the Centre.

PAINTED LADIES Wo1nen at the Court of Charles II

Friday 19tlz October 2001 at the National Portrnit Gallery, London The reign of Charles II is one of the most fascinat ing, yet

neglected, periods in British history. The Paul Mellon Centre

and the National Portrait Gal lery are co-organising this inter­

national scholarly conference in conjunct ion with the exhibi­

tion Painted Ladies: Women nt the Court of Charles II (l lth

October 2001-6th January 2002), the first exploration and

reconsideration of Restoration portraiture in twenty years.

The court that established itself after the violence o f the Civil

War reflected the character of the King-cynical, easy-going,

and promiscuous. Women had a new prom inence at cour t and

in society, and the King's mistresses, drawn from every stratum

of society, were the dominant figures. By looking at the context

in which these portraits were produced, the conference will

reassess assumptions not only about the art of the period but

also about cultural politics of the time.

Speakers will address various literary, histo rical, and cultural

aspects of the Restoration Court. Ranging in topics from pop­

ular prints to poetry, the lectures will examine the ways in

which royal women, m istresses, actresses and female cou rtiers

were portrayed and considered, both during their li fet imes and

in later centuries.

Peter Lely Diana Kirke, later Countess of Orford (c. 1665-70)

Speakers include Sir Oliver Millar; Susan Shifr in; Sheila

O'Connell (The British Museum); Frances Harris (The British

Library); Paulina Kewes (University of Wales); Andrew

Walkling; and Steven Zwicker (Washington University) .

Ticketsnre£30 (full-time students £15), including coffee, tea and an early-evening drinksreception. To book, please contact the Centre.

Further details on events can be obtained from the website at www.paul-mellon-centre.ac.uk/forthcoming/forthcomingevents.html

PUBLIC ARTIST, PRIVATE PASSIONS The World of Edward Linley Sambourne Thursday J 3th September 2001 at tlze Paul Mellon Centre This study day is a prelude to the exhibition at Leighton House Museum (27 September 200 1-13 January 2002). Sambourn e rose from occasional contributor to chief pol itical cartoonis t of the satirical magazin e P11nch. His social circle included some o f the m ost impor tant ar tistic figures of the day such as Frederic, Lord Leighton, Marcus Stone, Henry Irving, Luke Fildes and Oscar Wilde. The exh ibition illustrates Sambo urne's use of pho­tography to inform his drawings for Punch and how h is interest in the medium led him to crea te a unique collection of cyan­otypes which came in later life to ecl ipse his graphic wo rk.

Edward Linley Sambournc Pliotogmpliic study: Mrs Cornwallis ( 1895)

Lectu res will exa mine Sambourne's work, techniques and use o f professio nal and amateur models. The speakers will create a con­text for Sambourne's oeuvre and discuss its relevance to modern practi ce. Speakers will include Dr Alison Smith (Tate Britain), Professor Leo nee Ormond (Kings College), Simon Popple (Uni­versity of Teeside), Dr Martin Postle (Tate Britai n) and Coli n Harding (National Museum of Photography, Film and Television).

FELLOWSHIP AWARDS FOR 2001 At the March 200 I meeting of the Centre's Advisory Cou ncil, the fo llowing fellowships were awarded:

SENIOR FELLOWSHIPS Diana Donald (Manchester Met ropolitan University) to com­plete her book Animal Imagery i11 British Art I 750- 1850. Andrew Causey (Un iversity of Manches ter) to complete his book English Landscape and National Identity 1931- 51. Peter Draper (Birkbeck College, University of London) to complete his book Architecture and Tdentity: The Formation of English Gothic. POSTDOCTORAL FELLOWSHIPS Bolger Hoock (Corpus Christi College, Oxford) to prepare his book The Royal Academy as a 'National Institution' 1768-1820 for publ ication.

Michaela Giebelhausen (University of Essex) to prepare her book Representation, Belief and the Pre-Raphaelite for publication. H elene Furjan (ex-University of Princeton) to prepare her book John Soane and the Ho11se-museum for publication. Joseph Monteyne (University of British Columbia) to prepare his book The Space of Print and Printed Spaces in Restoration London 1660-85 for publication. Martin Myrone (Tate Britain ) to prepare his book Body-build­ing: British Historical Artists in London and Rome and the Remaking of the Heroic Ideal c.1 760- 1800 fo r publication. Frederica Law-Turner (ex-Courtauld Institute) to prepare her book The Ormesby Psalter for publica tion . Carol Davidson-Cragoe (Institute of Histo rical Research, University of Lo ndon ) to prepare her book Written in Stone: Architecture, Liturgy a11d the Laity in English Parish Churches c.1125-1250 for publication.

Vale rie Scott (ex-Universi ty of Bristol) to prepare her book The Classical Orders i11 l6th-ce11tury E11glish Architecture for publication.

JUNIOR FELLOWSHIPS Jennifer Hallam (University of Pennsylvania) to conduct research in the Un ited Kingdom for her thesis on Re­Prese11ting Wom en in Early St!lart England: Gender Ideology, Personal Politics and the Portrait Arts. Catherine Reed (Pennsylvania State University) to conduct research in the United Kingdom for her thesis on Exhibiting National Character at the 1951 Festival of Britain.

Cassandra Albinson (Ya le Universi ty) to conduct research in the United Kingdom for her thesis on Modernity and the Noblewoman: Aristocratic Portraiture in Britain 1832-1885. Rosemarie Dias (University of York) to conduct research at Yale for her thesis on Boyde/I's Shakespeare Gallery: Exhibition Culture and Spectatorship in the Late 18th Century. Morna O 'Neill (Yale University) to conduct research in the United Ki ngdom for her thesis on 'Art is Born Again': The Allegorical Paint ings of Walter Crane. Lola Sanch ez-Jauregui (University of Madrid) to conduct research at Yale for her thesis on The Grand To!lr and I 8th-cen­tury Anglo-Italian relationships. ROME FELLOWSHIP Rich ard Read (University of Western Austral ia) to research on Adrian Stokes, The Early Career: Art Criticism, Literature & Psychoanalysis. RESEARCH SUPPORT GRANTS Rebecca Daniels (Birkbeck College, Un iversity of London ) towards travel around the United Kingdom to research for her thesis on Walter Sickert and Popular Art. Michael Rosenthal (University of Warwick) towards travel to Austra lia to research for his book The Artless Landscape: Colonial Imagery of Australia 1788-1840. Jennifer Edes-Pierotti (Columbia Un iversity) towards t ravel to Norfolk to research for her thesis on Picture Pe1fect: Behaviollral Modification in Late Medieval English Wall Painting. Anne Helmreich (Northwestern University) towards t ravel to the United Ki ngdom to research for her boo k Landscape Painting i11 Britain 1880-1920. Melinda McCurdy (UC Santa Barbara) towards travel to London to research for her book English History Painting c.1820- 1837.

Chris tina Carlson (University of Chicago ) towards travel to the United Kingdom to research for he r thesis Fro111 Conflict to Catholicism: Anti-Popery as 'Social Co11tract' in Political Cartoons and Political Drama in England 1603- 88. Jenni fer Holmes (European University l nstitute) towards trav­el to New Haven and New York to research for her thesis The City a11d Gender in Vorticism and ltalian Furtllrism c. I 909-18. Deb orah Lewittes (City University of New York) towards trav­el to the United Kingdom to research for her thesis Architectllre i11 the Diaspora: England 1927- 57.

FELLOWSHIPS AND GRANTS FOF Appl ications for all gran ts and fellowships should be

submitted i11 d11plicnte to:

The Grants Administrator

The Paul Mellon Centre

16 Bedford Square

London WClB 3JA

In order lo fu rther support scholarship in the fie ld of Bri tish

art and architectural history and to disseminate knowledge

through publications, exhibitions, and education, the Paul

Mellon Centre offers a variety of fe llowships and grants.

Fellowships are ava ilable both to established scholars and to

younger scho lars en tering the fie ld or seeking to develop their

research and publications. Grants also provide funds for cura­

torial research, exhibitions, publications, and educational pro­

grammes related to British art and architecture in museums,

galleries, historic houses, and similar institu tions. However,

the Centre's remit does not cover contemporary fine arts,

archaeology, the current practice of architecture or the per­

forming arts.

All grants are competitive and arc awarded on the basis of

application to the Paul Mellon Centre, except where o therwise

stated. Candidates should receive an acknowledgement within

14 days of the application's receipt. Please note, however, that

amendments to the text of applications after the closing date

are not accepted other than in exceptional circumstances, and

that the Centre accepts no responsibility for applicat ions lost

in the post.

Applicants will be in formed in writing of the Advisory

Council's decision no later than three weeks after the Cou ncil's

m eeting. Please note that the Centre is unable to notify appli­

cants of awards by telephone or via e- mail.

FELLOWSHIPS Fellowships are awarded annually at the Advisory Council 's

March meeting; fellowship applications, however, must a rrive

at the Paul Mellon Centre by 15 January.

Applicat ions should be not more than 2,000 words, submitted

in duplicate, and with the category of fe llowship applied for

clearly marked. They should include the following:

+ n 11 011tli11e oft Ire field of resen rclr

+ details of curre11t employ111e11 t n11d tire prospect of te//1-pomry release (if appropriate)

+ proposed p11blicntio11 date, n11d nct11nl or potential publisher (if npproprinte)

+ dnte of acceptn11ce to the doctoral progrnmme, pro­posed co111pletio11 dnte nnd 11nme of doctoral supervisor (fo r Junior Fellows/rips only)

+ n brief c11rriwl11m vitne, 011 110 111ore tlrn11 011e side of A4 pnper

Three independent closed references should also be sent

directly to the Centre, to arrive not later than 15 January.

However, no additional informat ion, o ffprints, art icles or

books should be enclosed with your application.

As part of the terms and condi tions of the award, successful

candidates will be required to submit an end-of-award report

on the progress they have made. If any fellows appointed by

the Centre accept fu ll-time employment during the period of

the fe llowship, the Centre will request that the appropriate

reimbursement of the amount of the award is made.

Sen ior Fellowships

Senior Fellowships are designated for established scholars or

institutions in the field of British art or architecture for the

specific purpose of completing a man uscript o r book for

immediate publica tion. Fellowships arc offered either as a

stipend to the fellow or to fund a temporary replacement at

the fellow's institution. T he Centre also welcomes projects

involving matching funding and collaborative work. Each fel­

lowship is offered for no longer than twelve m onths, and must

be used on a fu ll -time basis. Applicants arc required to

demonstrate that their manuscript can be completed within

the period they specify, and scholars are offered a place of

work, if desired, ei ther at the Paul Mellon Centre in London or

the Yale Center for British Art in New Haven. The maximum

award for a Senior Fellowship is £25,000 or $42,000, plus a

small travelling allowance.

Postdoctoral Fellowships

Fellowships are usually awarded for s ix-month periods. They

arc offered to enable the fellow to t ransform doctoral research

into publ ishable form, such as a book, series of articles or exhi­

bition catalogue, or to support new research aris ing out of a

successfully submitted doctoral dissertation where that

research may readily lead to publication.

Normally the postdoctoral fellowship is awarded within four

years of an applicant's doctoral award. All applicants must

have had their doctoral theses successfully examined.

Awards of up to £6,000 are made ei ther as a stipend to the fel­

low or to fu nd a temporary replacement at the fe llow's institu­

tion. Fellows may choose, if appropriate, to be affiliated either

wi th the Paul Mellon Centre in London or the Yale Center for

British Art in New Haven.

Junior Fellowships

Three-month fe llowships in the United Kingdom (based at the

Paul Mellon Centre in London) or the United States (based at

the Yale Center for British Art in New Haven ) arc offered to

scholars already engaged in doctoral research. Candidates may

be of any nationality, but normally must be enrolled in a grad­

uate programme at an American University for study in the

Uni ted Kingdom or at a non-American univers ity for study in

the United States. Junior Fellows receive a monthly stipend of

£1,500 or $1,500 and a return ai rfare.

Applicants should also note the Research Support Travel

Grants, outlined below.

SCHOLARSHIP IN BRITISH ART Pa11I Mellon Centre Rome Fellowship Jn conjunction with the British School at Rome, the Paul Mel lon Centre offers fellowships in Rome o f between three and six months to scholars working on Grand Tour subjects o r in the fie ld of Anglo-Italian cultural and artistic relations. The fellowship provides full residential accommodation at the British School at Rome and offers a monthly stipend of £1,000 plus travel to and from Rome. Applicants sh ould preferably be competent in spoken and written Italian, and the fellowship can be taken at any time between l September and 31 July. Applications should no t only include an outline of the pro­jected field of research but should stipulate why residence in Rome is important for this.

GRANTS Grants arc awarded an nually at the Advisory Counc il 's October meeting; grant appl ications, however, must arrive at the Paul Mellon Centre by 15 Septembe r.

Please do not send any additional informat ion, offprin ts, books or photographs; please note, too, that the Centre cannot return any accompanying material.

Only one grant application per institution will be considered. Awards can be given to cover reasonable administrative and institutional expenses but not personal living costs.

Appl ications for grants should be not more than I ,OOO words, submitted in duplicate, and should include the following:

+ the grnnt category being applied for

+ the amount being requested + n detailed outline of, and timetable for, the project + details of how the project corresponds to long-term

pln1111i11g

+ other sources of financial support, realised or projected

+ proposed completion, opening and/or publication dates, where appropriate

+ n detailed breakdown of nil estimated costs n11d all anticipated inco111e, inc/11ding sales

+ production estimates from two different firms (for cat­alogues publis/1ed in-house)

+ date of acceptance lo the doctornl progrn111111e and pro­posed completion dale and the nn111e of doctornl super­visor (for Research Support Grant applicants wrrently involved in doctornl research)

+ Jwo independent letters of support (for C11rntorinl Research and Publications Grnnts only)

+ the e11rriwlu111 vitae of the project organiser or researcher, on 110t 111ore than one side of A4 paper

+ three closed references (for l~esearch S11pport Grants only)

Curatorial Research Grants As part of its support fo r public art galleries and museu ms, the Paul Mellon Cen tre makes a limited number of grants to insti­tutions for curatorial research. In the case of individual research curators, the appointment is for a maximum of three years. Normally grants are made to help institutions undertake research for a particular exhibition or installation of British

\ I

art, the research curator being associated with the staff of the

public ga ll ery or museu m. The inst itution seeking such a grant

is required Lo define the scope of the project, indicating that it

can be achieved within a three-year period or less. The institu­

tion is also required to set out the expectations and responsi­

bilities of the research curator. In some instances a grant may

be made to an institution to provide staff in lieu of a curator

who wishes to take leave from o ther curatorial duties Lo under­

take research for an exh ibition or related project. Curatori al

Research G rants to institutions will not exceed £ 18,000 or

$30,000 per an num.

Publicatio11 Gra 11 ts The Paul Mellon Centre supports books and catalogues of

exhibitions or permanent collections of British fine and deco­

ra tive arts and arch itecture with a range of grants up to a max­

imum of £20,000 or $35,000. O ther scholarly publications in

British art for museums and public galleries, such as introduc­

tions or handbooks to a collection, are also eligible.

Publication projects other than catalogues, however, must

have been fully completed before a submission for grant aid

can be made.

Educal ional Programme Grants

The Paul Mellon Centre wishes to support a broad spectrum

of educational programmes related to British a rt o r archi tec­

tural history. These may include lectures, symposia, seminars

or conferences for scholars and/or the general public. Grants

in this area do not normally exceed £5,000 or $8,000.

Research Support Grants Travel and subsistence grants to a maxim um of £2,000 or

$3,500 a re offered every six months to schola rs already

engaged in research involving the study of British art or archi­

tecture. The grants may be used to visit collections, libraries,

a rchives, conferences o r historic sites within the Uni ted

Kingdom or abroad. Candid ates may be of any nationality.

Please note that Research Support grants are offered twice a year, with application deadlines of 15 January and 15 September.

YALE CENTER FOR BRITISH ART Visiting Fellowsh ips The Yale Center for British Art offers a limited number of

short- term resident fellowsh ips to scholars in postdoctoral or

equivalent research related to Bri tish art and to museum pro­

fess ionals whose research interests include British arl. These

fe llowships allow scholars of either literature, history, the his­

tory of art or related fields to study the Center's holdings and

to make use of its research faci lities. For details, p lease contact

the Yale Center for British Art:

Yale Center for British Art, I 080 Chapel Street,

P.O. Box 208280, New H aven, CT 06520-8280, USA

tel +I 203 432 2850 fax + l 203 432 9628

[email protected] www.yale.edu/ycba

FORTHCOMING PUBLICATIONS The Jolloiving 110!11111es are publislzed l1y Ynle University Press Jin the Pou! Mellon Centre for Studies i11 British

Art. All nre avoiloble from Yale Uni11ersi1y Press nt 23 Pond Street, London NW3 2PN, tel. 020 7431 4422, fnx 020 7431 3755. Yale University Press cn11 nlso nd11ise on s11i1nble retail outlets.

Edward McParland A NEW WAY OF BUILDING

Public Architecture in Ireland 272 pp, 220 black-&-white illustrations, 28 colour plates

ISBN 0-300-09064-1 £35.00 September 2001

This pioneering book examines the public architecture of

Ireland during the years I 680-1760, a crucial period when the

country undertook the combined tasks of recovering from war

and constructing a new and stable society. New bu ildings, and

new types of buildings, were needed to express and sustain th is

society. Archi tectural historian Edward McParland explo res

the role of public architecture in this enterprise, focusing on

public buildings as works of architecture and art, while also

discussing the political, social, and economic contexts in

which they were built. More than one hundred specially com­

missioned photographs by David Davison beautifully docu­

ment this architectural history.

The book opens with a discussion of the people who were

involved in the creation of publ ic arch itecture and a descrip­

tion of the physical appearance of Ireland at the time, includ­

ing its roads and harbours, its market houses and churches.

The author then presents detailed portraits of key public

buildings, among them The Royal Hospital Kilmainham, The

Royal Barracks, Dublin Castle, Trinity College Dublin, and

Edward Lovett Pearce's Parliament House. Drawing on exten­

sive research in arch ives throughout Britain and Ireland,

McParland documents in vivid detail the architectural and

social importance of these remarkable publ ic buildings.

Edward McParland is lecturer in the department of the history

of art and fellow at Trinity College in Dublin.

Eileen Harris, ed. THE GENIUS OF ROBERT ADAM His Interiors 400 pp, 250 black-&-white illustrations, 250 colour plates

ISBN 0-300-08129-4 £65.00 September 2001

Robert Adam was one of the greatest British architects of the

later eighteenth century. In this elegantly illustrated book,

Eileen Harris shows the synthesis of architecture, planning

and decoration that stands at the heart of Adam's achieve­

ment. She considers in deta il the interaction of each of these

elements in some of Adam's most famous Bri tish country

houses and London town houses.

Most of Adam's work was in pre-existing houses; the chal­

lenges of remodelling stimulated his inventive imagination,

and he became a master at turning awkward situations to

advantage. Harris has mined a variety of archival sources and

fully examined the houses themselves to d iscover exactly what

Adam did in each project and why. Taking into account later

alteratio ns and renovations, Harris brings to light how much

of Adam's original work was conditioned by circumstance and

how much was left to invention. In her detailed discussions of

the planning, decoration, ceilings, carpets, chimney pieces and

furniture of such interiors as those at Kedleston, Syon House,

Osterley Park, Newby Hall, Culzean Castle, and Home and

Lansdowne Houses in London, Harris uncovers the full extent

of Adam's prodigious achievements.

Eileen Harris is an architectural historian, who has published

extensively on Robert Adam. She is Honorary Librarian

and Consultant to the Adam Project at Sir John Soane's

Museum, London

David Solkin ART ON THE LINE The Royal Academy Exliibitio11s at Somerset House 1780-1836 240 pp, 145 black-&-white illustrations, 70 colour plates 0-300-09091-9 £45.00

Hyman argues that this 'Battle for Realism' shaped and interna­tionalised British art and addresses a range of ar tis ts, from Modernist realists such as Auerbach, Bacon, Freud, Kossoff, Moore an d Sutherland to social realists Hogarth, de Francia and the 'kitchen-sink painters'. He also draws on contemporary

October 2001

On I May 1780, the Royal Academy of Arts opened its twelfth annual exh ibition, Lhc first to be held in the magnificent rooms of William Chambcrs's newly built Somerset House. For Lhe next fifty-seven years, the Great Room of Som­erset House effectively defined the centre of the London art world ' -the place where viewers had to sec and be seen, and where artists vied for the attention of potential buyers. Such grca l

critical writing to give fresh insights into the art debates of the ~:""='.....,~ period and gives new prominence to the central roles of the

" critics John Berger and David Sylvester. -~ James Hyman is a London-based art historian. He is a lecturer, a ~· broadcaster and writer and curated British Figurative Painting r. of the 20th Ce11t11ry (British Council, l 992) and Picasso: Artist of = ~ the Ce11tury (Kunsthal, Rotterdam, 1999). -~·

exhibition performers as Joshua Reynolds, Thomas Lawrence, John Constable, J.M. W. Turner and David Wilkie sharpened their skil ls during these decades. In this book, published to co­incide with the Courtauld Gallery exhibition opening in Octo­ber 200 I, experts revisit and assess this period of great achieve­ment and central importance in the history of British art.

g c.. 0 =

David Solkin is Reader in History of Art at the Courtauld insti­tute, University of London. He is the author of Painting for Money: The Virnal Arts and the Public Sphere i11 Eightee11th­Century fog/and, published by Yale University Press.

James Hyman THE BATTLE FOR REALISM Figurative Art in Britain during the Cold War 1945-1960 264 pp, 150 black-&-white illustrations, 50 colour plates ISBN 0-300-09089-7 £45.00 October 2001

Art historian James H yman Lakes a fresh look at the crucial years after the Second World War when attempts were made to revive European cul­ture and when debates about the future of art were fierce. The author proposes that realism in Europe during the early Cold War years occupied a The Battle for Realism radical vanguard posi- James Hymon

tion and stood in opposition to the competing claims made for American Abstract Expressionism. He examines two distinct visions of realism-social realism and Modernist realism-and explores their political implications and ideological significance.

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Debra N Mancoff, ed. JOHN EVERETT MILLAIS Beyond the Pre-Raplwelite Brotherhood Studies in British Art 7 260 pp, 84 black-&-white illustrations, 20 colour plates ISBN 0-300-09119-2 £35.00 September 2001

The ca reer of John Everett Millais has been framed in terms of his rise to notoriety as an original member of the Pre-Raphaelite Brotherhood and his descent into comfort­able success as a popu­lar painter and leading figure in the Royal Academy. This view has skewed the critical history of Millais's contribution to British art, favouring his brief association with the Brotherhood over more than forty years of artistic endeavour and public acclaim. This collection of new essays contributes to the reassessment of this important Victo­rian artist's career and takes a fresh look at the whole fabric of his work.

Introduction by Debra N. Mancoff, with contributions by Lconee Ormond, Kimberley Rhodes, Andrew Sanders, Jeremy Musson, Julie F. Codell, Anne Helmreich, Laurel Bradley and Roger Bowdler.

Pauline Croft, ed. PATRONAGE, CULTURE AND POWER The Early Cecils 1558-1612 Studies in British Art 8 328 pp, 80 black-&-white illustrations, 19 colour plates ISBN 0-300-09136-2 £40.00 November 2001

The Cecils were the dominant noble family in Elizabethan and Jacobean England. William, Lord Burghley rose to power and great wealth under Elizabeth I, then used h is extensive patron­age and exceptional breadth of interests to advance the Cecils' remarkable political and cultural pre-eminence.

This wide-ranging collection of essays draws on architectural and art history, court studies, English literature, garden histo­ry, musicology, economic history, and women's studies.

THE YALE CENTER FOR BRITISH ART GREAT BRITISH PAINTINGS FROM AMERICAN COLLECTIONS: HOLBEIN TO HOCKNEY 27 September-JO December, 2001

Some of the greatest masterpieces of British painting

belong to American collections, both private and public.

Great British Paintings from American Collections will bring

together for the fi rst time nearly eighty of the best British

works of art in the United States today.

Offering a fresh and beautiful account o f the history of

painting in Britain from the sixteenth century to the pre­

sent, the exhibition will reveal both the rich ness of the col­

lections and the particular tastes and interests of American

collectors. The principal lenders will be the Yale Center for

Brit ish Art and the Huntington Art Collections in San

Marino, California. Yale's contribution includes works by

Hogarth, Stubbs, Turner and Constable, whi le the

Huntington will lend works by Gainsborough, Reynolds

and Romney.

The Metropolitan Museum of Art in New York is gener­

ously supporting the exhibition wi th the loan of five paint­

ings, including two celebrated masterpieces by Thomas

Lawrence. The scope of the exhibition covers the best of

the many non-British artists who have worked in Britain,

and the National Gallery of Art in Washington is lend ing

three outstanding examples including Van Dyck's Queen Henrietta Maria and her Dwaif The exh ibition will also

feature works by Gwen John and Bridget Riley from the

Museum of Modern Art, New York.

The range of lenders to the exhibition wi ll not be confined

to prominent public collections. Works from private col­

lectio ns will include a major early Constable, The Wheatfield, and important works by Richard Parkes

Bonington, John Everett Millais, Albert Moore, Stanley

Spencer, Francis Bacon , David Hackney, Lucian Freud, and

Jenny Saville.

The exhibition will include certain works of special impo r­

tance in the history of the American taste for Brit ish art­

Turner's Staffa from the Yale Center's collection, for

instance, was the first painting by that artist to cross the

Atlantic-but the primary consideration in the selectio n

has been artistic quality rather than historical interest.

Great British Paintings from American Collections marks the

300th anniversary of the fou ndation of Yale Universit y, and

will be the Center's chief contribution to the program me

of tercentennial celebrations taking place at Yale.

Joshua Reynolds Diana, Viscountess Crosbie (I 777)

The Line of Beauty British Watercolors and Drawings of the Eighteenth Century 19th May- 2nd September 2001

Snowdon 16 June-2 September, 2001

'Wilde Americk': Discovery and Exploration of the New World, 1500-1800 27 September-30 December, 2001

Painted Ladies: Women at the Court of Charles II, 1660- 1685 25 January-17 March, 2002

For further information, please contact the Yale Center, tel.

+ 1 203 432 2800, or visit the website at www.yale.edu/ycba

PAUL MELLON CENTRE STAFF Director of Studies Brian Allen, Assistant Director Steven Parissien, Administrator Kasha Jenkinson Librarian Emma Floyd, Director's Assistant Emma Lauze, Information Officer Amanda Robinson,

Editor, Special Projects Guilland Sutherland, Reception Alexandra Finch, Yale-in-London Coordinator Viv Redhead Special Projects Judy Egerton, Elizabeth Einberg, John Ingamells, Mary Smith

ADVISORY COUNCIL Linda Colley, Richard Cork, Marcia Pointon, Duncan Robinson, Andrew Saint

Nicholas Serota, Desmond Shawe-Taylor, David Solkin, Shearer West Company Registered in England 983028 Registered Charity 313838